![]() With around one hour of redone cutscenes, I’m tempted to jump into Halo 2 immediately just to see them in their entirety.Īll four campaigns have received some work, but Halo 2 is the marquee title in MCC. Watching the Chief take down a Scarab tank and stroll out of the wreckage is as epic as ever. Sergeant Johnson bellows out orders and tough love with incredible fidelity. It’s strange seeing cutscenes from 2004 outclass most modern cinematics, but that’s what Blur does (fun fact: they also did the cutscenes for Halo Wars and Halo 4). What’s old was new again, and I had goosebumps like it was the first time. MCC makes plenty of room for all of us.ĭo you remember that first big Halo 2 trailer? The one where Chief leaps out of a ship to give the Covenant their bomb back? When we visited 343 for IGN First, the first things we saw were some of the brand new cut scenes Blur created – including snippets of that famous trailer. If you haven’t played the original, it becomes a portal to a stranger, blockier world you never knew and don’t need to know to enjoy the game. If you played the original, the swap button becomes the oh-wow-I-can’t-believe-this-is-how-Halo-used-to-look button. 2011’s Halo: Combat Evolved Anniversary had a similar feature, but it took a few seconds. The sacred Halo trinity of guns, grenades, and melee attacks, all accessible with one button, worked in the early 2000s, and it still works now.Īt any time in Halo or Halo 2’s campaigns, you can hit a button and revert back to the original game’s graphics. Encounters feel like miniature sandboxes with plenty of options. If anything, the frame rate bump (up to 60fps) makes it a bit easier to line up headshots or take out flying enemies, like Banshees or Drones. That signature Halo “feel” went mostly untouched. The same goes for finding Jenkins’ helmet, or any of the other countless excellent Halo moments. I’ll never have that exact moment again, but people playing Halo for the first time with MCC’s improved look can. The environment asks you questions you genuine can’t answer, and just as you’re getting your bearings, you’re snapped back to attention with a visceral threat. It’s one of the most excellent, purposefully disorienting moments in games. You don’t know what it is you do know that you need to run and hide. How big is this thing? How does gravity work here? An unfamiliar hum steals your attention, and you see something flying toward you. The world’s surface curves skyward, so you follow it up, around, and back down, tracing it with your weapon’s reticle. Admire the sights enough and you’ll catch a glimpse of the impossible horizon. There’s enough of both the foreign and the familiar to keep you on edge. You evacuate the doomed ship with your package. Once you grab a gun (you’ll have to find ammo as you go), Pillar of Autumn becomes, essentially, a bunch of hallways that connect larger combat “arenas.” It feels like a corridor shooter with a better premise and shooting mechanics than most. There’s a huge ring floating outside in space, and nobody knows what the heck it is. You’re woken up to evacuate a precious AI before she falls into enemy hands. ![]() The Pillar of Autumn, a massive human vessel, is under attack from overwhelming Covenant forces. The earliest levels of Halo were brilliantly deceptive.
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